Wolfgang Amadeus Mozart (1756-1791): Piano Trio in C Major, K

RONEN CHAMBER ENSEMBLE

Program Notes for February 20, 2007

Wolfgang Amadeus Mozart (1756-1791): Piano Trio in C major, KV. 548

The Piano Trio in C major, KV. 548 was completed in July 1788, shortly before the completion of the "Jupiter" Symphony No. 41, also in C major. It is remarkable that in a few months in the summer of 1788, only a year after the death of his father, Mozart wrote his last three symphonies, the culmination of his symphonic work!His lastthree piano trios were written simultaneously. Burdened by his wife's serious illness, which added to his financial stress, these lastpiano trios were published in an attempt to raise funds.

The trio has three movements andbeginslike the Symphony No. 41 with a fanfare "call for attention," an unusual feature in a chamber music work for strings.The music that follows seems predictable at first,but during the development section we are offered a glimpse into the mind of a musical genius. The modulations, the descending chromatic lines and the marvelous instrumental range create magical textures where shadow and light, pain and joy mingle.

The second movement, an Andante cantabile in F major, flows spaciously in 3/4 timeand isstirred by occasional rapidly fluttering passages. A sudden forte exclamation in unison disrupts the tonal complacency, and what follows is unexpected harmonically and texturally. The result is bold and hauntingly beautiful.

The third movement is a jovial "hunting" tune in a dancing 6/8 meter. Unlike the symphony it is not contrapuntal in texture. An arpeggio figure of the main theme ispassed around by all three instruments.

In Mozart's hand the piano trio expanded beyond Haydn's model in that the cello was given more prominence. (The old style more resembled a keyboard sonata with the cello doubling the bass line and the violin embellishing the right hand.)In Mozart’s later trios, he created new textures, among them setting the strings versus the piano,all adding interest and drama to the piece.

Notes by Ingrid Fischer-Bellman

Robert Schumann (1810-1856): Sonata in A minor for Violin and Piano, Op. 105

Composer, pianist, writer, champion of younger composers, Robert Schumann was the quintessential German Romanticist. Earlier in his career, he was known for picturesque piano suites, then as a consummate and prolific song writer. In 1850, Schumann took the post of general music director for the city of Düsseldorf. It was a challenging position for him as he was never an outstanding conductor, and he was constantly at odds with the city’s orchestra and its administrators. However, it was a remarkable time for his composition. During his brief tenure there, he wrote all three of his violin sonatas and his third and fourth symphonies. Tortured throughout his adult life by depression and mental illness, Schumann would be institutionalized by 1854.

Written in 1851, the A minor Violin Sonata is a late work of Schumann’s. It is a true duo work, with the piano sharing the limelight with the violin. The opening, translated “With Passionate Expression”, is a rhapsodic movement which employs a common compositional device of Schumann’s. His shifting modality between A minor and A major gives the impression of variation, while all the same maintaining singular thematic material. The rhapsodic element is conveyed through the agitated rhythmic undercurrent of 16th notes, underneath the dark and tempestuous violin theme.

The serene second movement is folk-like in character and carries on in the nature of a gentle Intermezzo. The opening theme is brought back at the end of the movement after a middle section in which Schumann again transfigures thematic material using the major-minor modal shift, this time between F major and F minor.

A compact finale, marked “Lively”, is constructed as a Rondo, where the primary theme in A minor is set against a major-mode secondary theme. Although beginning in a minor mode, the perpetual motion feels playful. The end of the movement surprises by recycling material from the first movement. The interjection of the earlier dark theme makes for a highly dramatic finish.

Notes by Cathleen Partlow Strauss

Igor Stravinsky (1882-1971): Histoire du Soldat

Text by C. F. Ramuz, English version by Michael Flanders and Kitty Black

During World War I Stravinsky, cut off from both his native Russia and the Paris of his earlier successes, took refuge in Switzerland along with a great many other artists. His financial situation, not surprisingly, soon took a turn for the worse. In 1917 he collaborated with the French poet Ramuz to concoct a simple theatrical production. The idea was that it could be mounted anywhere under the prevailing wartime conditions, and with that, Histoire du Soldat was born. In composing the music, Stravinsky was forced to deal with a spare approach to orchestration that would be reflected in many later works.

With only a narrator, actor, dancer, a minimal set, and a small ensemble consisting of clarinet, bassoon, trumpet, trombone, violin, double bass and percussion, the new work toured widely through his Swiss haven. Stravinsky made a conscious decision not to use a piano to avoid the problem of procuring or maintaining an instrument as they moved from venue to venue and the perception by the audience that the work was really for a larger ensemble that circumstances required it be reduced for piano and a few other instruments. The production this evening will not include a formal dancer.

The story owes much to the Faust legend, involves a Soldier for contemporary resonance, addresses the larger questions of ART and the SOUL, and ends with a moral message of universal appeal. The production is divided into two parts, beginning with the Soldier traveling home on a two-week leave, his violin in his rucksack. He stops by a stream and begins to play his violin. The Devil appears disguised as a butterfly collector—symbol of a soul-catcher—and persuades the Soldier to trade his violin for a magic book which reveals the secret of great wealth. He is taught the use of the book in exchange for violin lessons. Later, the Soldier grows weary of his fortune and seeks to buy back his violin, only to find that it will no longer play for him. Part I ends with the Soldier throwing the violin away in despair, tearing apart the magic book and striking out at an aimless tramp on the open road.

In Part II, the Soldier happens upon a kingdom in mourning over a mysterious wasting sickness of its Princess. The King offers to reward anyone who can restore her health with her hand in marriage and a magnificent dowry. The Soldier, feeling he has nothing to lose, accepts the challenge. In the palace, the Soldier once more encounters the Devil, this time disguised as a virtuoso violinist set to win the Princess’s hand through the magic of his playing. The Soldier, in an attempt to regain his violin, gambles with the Devil over a game of cards. The Devil can only win at this game. In order to break the curse the Soldier realizes he can defeat the Devil by losing all his remaining money. The Soldier wins back his violin and revives the Princess, who dances for her savior. The Devil returns and antagonizes the Soldier but is rebuffed as the Soldier plays his violin causing his nemesis to dance until he drops from exhaustion. The Devil croaks out a promise of revenge. He triumphs over the Soldier when the man becomes discontented with life in the palace and returns to the village of his youth in an attempt to recapture the past. Ultimately, the Devil regains possession of the Soldier and his violin over the plaintive cries of his wife.